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Young  Folk's  Library  of  Choice  Literature 

GREAT  ARTIST  SERIES 


VAN  DYCK 


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"  Art  manifests  whatever  is  most  exalted,  and  it 
vianijests  it  to  all'' — Taine 


ANTONY  VAN  DYCK 

A  SKETCH 


HY 

JENNIE  ELLIS  KEYSOR 
Author  of  '■'■Sketches  of  Ame?-itan  .luthors'^ 


EDUCATIONAL  PUBLISHING  COMPANY 
BOSTON 

New  York        Chicago        San  Francisco 


"Van  Dyck  heightens  the  statures  that  Rubens  made  too 
stout;  he  indicates  less  muscle,  less  relief,  fewer  bones,  and 
not  so  much  blood.  He  is  less  turlndent,  never  brutal  ;  his 
expressions  are  less  gross  ;  he  laughs  but  little,  has  often  a  vein 
of  tenderness,  but  he  knows  not  the  strong  sob  of  violent  men. 
lie  never  startles  ;  he  often  corrects  the  roughness  of  his  master; 
he  is  easy  because  his  talent  is  prodigiously  natural  and  facile  ; 
he  is  free  and  alert,  but  he  is  never  carried  away. 

In  every  case  he  has  more  than  his  master,  a  feeling  for 
draperies  w^ell  put  on,  for  fashion ;  he  has  a  taste  for  silky 
stuffs,  for  satins,  for  ribbons,  for  points,  for  plumes  and 
ornamental  swords." 

—  F.  ur.  EN K  Fromentin. 

Van  Dyck,  "  poring  on  a  face. 
Divinely  through  all  hindrance  finds  the  man 
Behind  it,  and  so  paints  him  that  his  face. 
The  shape  and  color  of  a  man  and  life, 
Lives  for  his  children,  even  at  its  best 
And  fullest." 

— Anonymous. 

2 


Copyrighted,  lS!ii»,  l)y  Educational  Tublishimg  Co. 


ANTONY  VAN  DYCK, 


ANTONY  VAN  DYCK. 


1 599-1641. 


In  a  former  sketch  we  have  noted  the  greatness  of 
Rubens,  who  was  the  most  famous  of  Fh3mish  painters 
and  indeed  one  of  the  most  renowned  artists  of  the 
world.  We  dwelt  at  length  upon  Antwerp,  his  home 
city,  upon  the  friends  who  made  the  wonderful  success 
of  his  career  even  more  striking  than  it  otherwise  would 
have  been,  and  upon  his  own  beautiful  pure  life,  that 
more  than  anything  else,  more  even  than  his  fine 
genius,  endears  him  to  us. 

In  that  sketch  little  more  than  a  bare  mention  of 
Van  Dyck's  name  placed  before  us  the  favorite  pupil  of 
the  great  Rubens,  and,  next  after  the  master  himself, 
the  greatest  painter  of  Flanders.  There  are  men  so 
great  that  to  stand  next  below  them  on  the  honor-roll  of 
the  world  is  high  praise.  Such  a  man  was  Rubens,  and 
in  placing  Antony  Van  Dyck  only  a  degree  below  him, 


6 


VAN  DYCK. 


we  bestow  an  lioiior  which  nothing  but  genius  of  a  h)fty 
sort  could  merit. 

Van  Dyck  was  in  one  sense  a  reflection  of  his  master 
but  in  no  wise  was  he  that  merely  as  an  imitator.  He 
added  to  Rubens'  characteristics  his  own  individual 
qualities,  most  prominent  among  which  were  grace  and 
refinement.  Thus  he  was  a  worthy  bearer  of  the  torch 
of  progress  —  he  showed  himself  a  grateful  heir  of  the 
ages  by  contributing  his  own  part  to  the  sum  total  of 
artistic  production. 

Let  us  see  how  true  this  was  :  Rubens  was  Avild  and 
fleshly  at  times,  seeming  too  much  to  abound  in  animal 
life.  Van  Dyck,  in  his  pictures,  subdued  this  wildness, 
adding  in  its  stead  a  certain  grace  and  elegance. 
Rubens  occasionally  crowded  his  canvas  to  overflowing 
so  that  we  are  confused  by  the  very  exuberance  of  his 
work.  Van  Dyck,  with  calmer  judgment,  used  fewer 
fio'ures  and  thus  cleared  up  our  confused  notions. 
Rubens,  full  of  allegorical  and  historical  conceptions, 
found  portraiture  too  tame  for  his  teeming  brush.  Van 
Dyck,  working  more  minutely,  felt  the  universe  of  con- 
flict going  on  in  one  man  or  woman's  soul  and  so  ex- 
quisitely wrought  his  portraits  that,  though  they  stand 
before  us  polished  men  and  women  of  the  world,  yet  we 
feel  that  there  is  within  them  a  hidden  life  of  which 
Van  Dyck's  art  gives  us  sure  but  delicate  suggestions. 


VAN  DYCK. 


7 


Here,  at  least,  was  one  branch  of  the  painter's  art  in 
which  the  pui)il  out-stripped  his  master.  Without 
Rubens  Ave  can  scarcely  imagine  Van  Dyck  to  have 
existed  as  a  painter.  Tliey  stand  as  suggestion  and 
complement  to  each  other,  each  one  greater  because  the 
other  lived. 

If  we  are  interested  in  Van  Dyck  as  the  inheritor 
from  Rubens,  we  cannot  be  less  interested  in  him  as  the 
forerunner  of  the  English  school  of  painting  so  ably 
represented  by  Reynolds,  Gainsborough  and  Lawrence. 
He  was  the  last  great  foreign  painter  brought  into  Eng- 
land by  the  art-munificence  of  her  sovereigns.  After 
his  death  there  came  from  foreign  lands  a  race  of  petty 
painters  and  then  Englishmen  awoke,  in  their  apprecia- 
tion of  Hogarth  and  Reynolds,  to  the  consciousness 
that  within  their  own  borders  Avere  men,  the  products 
of  whose  brushes  placed-  them  among  really  great 
painters. 

So  Van  Dyck,  born  in  Belgium,  the  intellectual  heir  of 
Rubens,  died  in  England  the  intellectual  progenitor  of 
Reynolds  and  Gainsborough.  By  a  stretch  of  fancy, 
there  is  a  significance  in  the  fact  that  the  dust  of  Van 
Dyck  has  long  ago  mingled  with  English  soil.  In  the 
same  manner  his  artistic  genius  which  is  a  thing  of  spirit 
and  so  knows  no  disintegration,  has  through  all  the 
years  since  his  death  diffused  itself  through  English  art 


VAN  DYf'K. 


9 


and  made  it  stronger  and  more  redolent  ot*  the  soil 
whereon  it  thrives. 

Van  Dyck's  hfe,  like  that  o£  Masaecio  and  Raphael, 
was  a  short  one  and  yet  so  complete  and  rounded  in  the 
perfection  of*  the  work  he  accomplished  that  we  dare 
not  imagine  additional  honors  had  his  years  been  pro- 
longed to  the  scriptural  "  three  score  and  ten."  The 
materials  from  which  to  draw  the  incidents  of  Van 
Dyck's  life,  esi)ecially  the  earlier  part,  are  scarce  and 
even  those  we  have  are  quite  uncertain.  Ben  Jonson 
once  wrote  of  Shakespeare,  referring  perhaps  to  the 
paucity  of  biographical  matter,  "  Reader,  look  not  on 
the  man  but  on  his  books."  Imitating  Jonson's  words, 
we  might  likewise  say  of  Van  Dyck,  "  Student,  look  not 
on  the  man  but  on  his  pictures." 

Antony  Van  Dyck  w^as  born  of  well-to-do  parents  in 
Antwerp,  March  22,  1599.  His  father  was  a  manufac- 
turer of  silk  and  woolen  stuffs  as  had  been  his  ancestors 
for  sevei'al  generations.  It  would  please  our  fancy 
better  to  believe  an  old  legend  which  gave  the  occupa- 
tion of  Antony's  father  as  that  of  a  painter  of  glass  for 
rich  cathedral  windows.  Such  work  for  the  father  of  a 
great  painter  is  quite  to  our  liking  and  so,  for  genera- 
tions, men  willingly  accepted  the  old  story  as  truth.  If, 
however,  this  romantic  occupation  of  the  father  must  be 
thrust  aside  for  the  more  prosaic  one  of  silk  and  woolen 


10 


VAN  DYCK. 


manufacturer  we  are  certain  of  quite  as  picturesque  em- 
ployment for  the  dainty  fingers  of  tlie  child's  lady  mother. 

Although  Antony  was  the  seventh  of  her  twelve  chil- 
dren she  found  time  to  do  very  beautiful  work  with  her 
needle  and  brilliant  silken  floss.  She  invented  her 
patterns  and  shaded  her  work  so  skilfully  that  she 
created  pictures  instead  of  bits  of  fantastic  embroidery. 
We  can  imagine  how  she  taught  the  silken  vine,  ladened 
with  glossy  leaves  and  flowers,  to  climb  the  wrought 
trellis,  or  how  she  worked  with  nimble  fingers  some 
legend  of  love  or  daring  to  adorn  her  home. 

We  know  that  shortly  before  the  little  Antony  was 
born,  she  worked  in  all  its  details  the  story  of  Susannah 
and  the  Elders.  It  was  surely  a  womanly  employment 
pervaded  with  true  art  feeling,  and  Van  Dyck's  mother, 
engaging  in  it,  unconsciously  put  herself  beside  some 
lovely  dames  of  fact  and  fiction  —  beside  Matilda, 
William  the  Conqueror's  prudent  consort,  who  with  her 
gentlewomen  wrought  out  in  the  Bayeux  tapestry  the 
events  which  her  warlike  husbaud  was  bringing  to  pass  ; 
beside  Penelope  who  wove  those  mystic  scenes  by  day 
and  ravelled  them  by  night  to  foil  her  unlawful  suitors ; 
beside  the  thousands  of  dainty  women,  who,  in  our  more 
tranquil  times,  seize  bird  and  flower  and  grass  from  field 
and  wood  and  hold  them  in  all  the  radiance  of  their 
native  color  to  adorn  our  happy  indocT  life. 


VAN  DYCK. 


n 


Little  is  known  of  the  first  years  of  the  painter,  but 
we  can  easily  imagine  that  his  were  fingers  that  early 
found  delight  in  drawing  the  crude  images  of  a  child- 
artist.  We  can  fancy  that  often  and  often  as  his 
mother  shaped  with  needle  and  floss  the  tree  or  flower 
of  her  thouo'ht  the  child  at  her  knee  followed  her 
pattern  with  the  wayward  pencil  clutched  in  his  baby 
hand.  Whatever  may  be  the  truth  or  falsity  of  our 
impressions  along  this  line,  we  know  that  at  the  age  of 
ten  his  father  thought  it  worth  while  to  send  the  boy  to 
study  drawing  and  painting  in  the  studio  of  Van  Balen, 
a  pupil  of  the  famous  Van  Noort,  who  had  instructed 
Rubens  at  one  time. 

Two  years  before,  the  gentle  mother  had  died  leaving 
her  little  artist  son  to  be  cared  for  by  others. 

In  Van  Balen's  studio  the  young  Antony  soon 
excelled  all  his  associates.  After  he  had  been  here  for 
five  years  Rubens  returned  from  Italy  and  all  eyes  were 
turned  to  him,  loaded  as  he  was  with  his  young  and 
growing  fame.  Among  the  throng  of  artists  who 
sought  the  distinction  of  being  instructed  by  Rubens 
was  Van  Dyck,  then  a  lad  of  fifteen  or  sixteen.  His 
industry  and  skill  with  Van  Balen  was  well  known,  so 
he  quite  easily  obtained  the  permission  he  wished.  He 
had  been  with  the  great  master  but  a  short  time  when  it 
was  quite  evident  that  of  all  the  crowd  of  artists  who 


WIMJAM   11.  OI-  .NASSAU' 


y^an  Dyck 


VAN  DVrK. 


13 


worked  with  him,  the  jounty  Van  Dyek  was  the  favorite 
—  the  one  selected  to  assist  the  master  in  his  most 
precious  work. 

With  his  usual  keenness,  Rubens  noted  Van  Dyck's 
power  in  portraiture  and  advised  the  young*  man  to 
develop  that  branch  of  })ainting'  and  to  perfect  himself 
in  it  by  an  extended  tour  of  Italy.  There  have  been 
those  who  have  asserted  that  Rubens  feared  that  Van 
Dyck  would  prove  a  dangerous  rival  and  so  he  encour- 
aged him  to  pursue  the  line  of  work  least  likely  to 
menace  his  own.  If  we  study  Rubens'  character  deeply 
we  shall  be  convinced  that  such  a  motive  was  far  below 
the  temper  of  his  lofty  soul.  Further,  we  must  be  sure, 
from  the  way  Van  Dyck's  art  developed,  that  Rubens 
had  no  thought  but  for  the  welfare  of  his  student  and 
friend,  for,  beautiful  as  are  the  many  other  pictures  by 
Van  Dyck,  in  portraiture  he  stands  close  to  Titian,  the 
greatest  portrait  painter  among  the  Old  Masters. 

A  pleasant  story  is  told  of  Van  Dyck  at  this  time. 
The  subjects  Rubens  was  using  in  his  private  studio 
were  ever  a  matter  of  curiosity  to  his  numerous  pupils 
and  all  sorts  of  harmless  devices  were  resorted  to  to  find 
out  what  the  master  preferred  to  hide,  for  a  time  at  least, 
from  his  inquisitive  students.  One  evening,  after 
Rubens  had  left  the  studio,  a  more  than  common  desire 
tc  see  what  he  had  been  painting  possessed  the  young 


14 


VAN  l>YnK. 


men.  They  forced  the  door  and  found,  so  the  story 
runs,  the  wonderful  "  Descent  from,  the  Cross  "  on  the 
master's  easel  with  the  fresh  paint  undried  upon  its 
matchless  fig  ures. 

Some  jostling-,  which  is  likely  to  occur  in  such  a 
gathering  of  students,  took  place,  and  sad  to  relate, 
some  luckless  fellow  brushed  with  his  arm  the  face  and 
shoulder  of  the  Magdalen.  A  terrified  silence  ensued 
as  they  gazed  at  the  blurred  figure.  Finally  they 
summoned  courage  to  desipfuate  one  of  their  number 
to  repair  the  damage.  Van  Dyck  was  selected  and, 
in  the  three  hours  of  daylight  that  yet  remained  to 
him,  he  reluctantly  undertook  the  unwelcome  task. 
When  it  was  finished  the  culprits  declared  that  it 
excelled  the  master's  own  work  and  so  they  left  it  with 
fear  and  trembling. 

When  Rubens  returned  next  morning,  his  quick  eye 
almost  instantly  detected  the  work  of  an  alien  hand  and, 
what  was  more  surprising,  he  recognized  in  it  Van 
Dyck's  work.  The  crown  of  surprises,  however,  was 
when  the  master  remarked  in  a  not  unpleasant  tone  of 
voice,  "  This  throat  and  chin  is  by  no  means  the  worst 
piece  of  painting  that  I  did  yesterday."  It  is  fnrther 
stated  that  he  in  no  wise  changed  this  touch  of  a 
strange  hand,"  and  that  he  fully  forgave  the  boys  who 
had  broken  in  upon  the  privacy  of  his  studio. 


VAN  DYCK. 


17 


When  Van  Dyck  was  but  nineteen  he  was  enrolled  as 
a  member  of  the  Guild  of  St.  Luke  with  full  qualifica- 
tions. This  was  a  great  honor  and  one  never  before 
bestowed  upon  a  man  under  twenty  years  of  age.  Now 
this  Guild  of  St.  Luke  was  an  association  or  society, 
named  for  the  artist  evangelist,  the  members  of  which 
must  be  skilled  in  their  special  work.  Twenty-four  dif- 
ferent classes  of  workmen  were  included  among  the 
members,  among  them  painters  and  sculptors.  The 
society  was  interested  in  everything  that  pertained  to 
art.  When  there  were  no  great  artists,  they  kept,  as  it 
were,  the  art  spirit  alive,  so  that  when  great  geniuses 
should  appear  the  way  would  be  somewhat  prepared  for 
them. 

On  all  public  occasions  this  guild  played  an  important 
part,  looking  after  the  decorations,  entertaining  notable 
guests,  etc.  No  man  who  was  a  sloven  in  his  work  or 
understood  it  imperfectly  could  become  a  member  of 
this  guild.  They  tended  to  make  careful  workmen  and 
so,  of  course,  improved  the  general  life  of  the  citizens 
very  materially,  for  no  single  principle  can  bring  more 
happiness  to  a  community  than  this,  that  all  workmen, 
whether  in  high  or  humble  places,  do  their  work  skil- 
fully and  conscientiously.  It  certainly  speaks  well  for 
Van  Dyck's  workmanship  that  he  so  early  became  a 
member  of  St.  Luke's  Guild.    He  must  have  made  him- 


18 


VAN  DYCK. 


self  thoroughly  worthy  of  the  honor  of  membership,  for 
in  later  years  he  became  president  of  this  important 
body. 

In  1620,  Van  Dyck  made  a  flying  visit  to  England 
and  so  far  ingratiated  himself  with  the  king,  James  I., 
that  he  was  commissioned  to  paint  a  portrait  of  the 
king.  This  portrait  is  now  in  the  royal  collection  at 
Windsor. 

From  England  he  went  to  Holland  whither  he  had 
been  invited  by  Frederick,  son  of  the  great  Prince  of 
Orange,  who  had  been  assassinated  in  1584.  There  he 
painted  several  portraits  of  the  prince's  family.  One  of 
these  represents  a  beautiful  lad  of  sixteen  or  seventeen 
with  boyish  face  and  flowing  locks.  In  later  years  this 
prince  became  the  father  of  that  William  of  Orange, 
who,  with  his  wife  Mary,  came  to  the  throne  of  England 
when  her  own  kings  seemed  to  fail  her.  In  another 
beautiful  picture  of  this  time  we  have  the  same  youth, 
somewhat  older,  with  his  affianced  bride,  Mary  Stuart, 
daughter  of  Charles  I.  The  refined  faces  and  hands  of 
these  royal  young  people  are  enhanced  by  the  rich  court 
costumes  which  were  such  an  important  part  of  Van 
Dyck's  portraits. 

At  this  time,  too,  must  have  taken  place  that  meeting 
of  Van  Dyck  and  Franz  Hals.  Franz  was  not  at  home 
when  Van  Dyck  called,  but  was,  as  usual  at  the  tavern. 


VAX  DYCK. 


From  Ills  convivial  companions  he  was  summoned  to 
paint  a  portrait  of  his  caller  whom  of  course  he  did  not 
know.  In  two  hours  he  had  painted  a  portrait  at  which 
Van  Dyck  justly  marvekd. 

Then  he  said  to  Hals,  "  Painting  is  doubtless  an 
easier  thing  than  1  thought.  Let  us  change  places  and 
see  what  I  can  do."  Hals,  proud  of  his  own  work, 
was  quite  willing  for  the  stranger  to  test  himself  and 
so  he  did  as  he  was  asked.  When,  in  shorter  time  than 
Hals  had  taken,  the  sebond  portrait  was  finished,  the 
enthusiastic  Dutchman  rushed  to  his  guest,  flung  his 
arms  about  his  neck,  and  exclaimed,  "  The  man  who 
can  do  that  is  Van  Dyck  or  the  Devil !  "  and  so  the 
visitor's  identity  was  established,  for  he  preferred 
owning  up  to  being  himself  rather  than  being  thought 
to  be  the  arch-fiend,  Satan. 

In  1622,  Van  Dyck  returned  to  Antwerp  to  attend 
his  father  durino^  the  closino-  hours  of  his  life.  One  of 
the  father's  last  requests  of  his  son  was  that  the  latter 
should  paint  a  picture  for  the  Dominican  sisters  who 
had  been  so  kind  to  him  since  the  begfinnino^  of  his  ill- 
ness.  The  artist  fulfilled  his  promise  by  painting  a 
Crucifixion  which  has  ever  ranked  high  among  his 
works. 

Any  picture  which  represents  our  Lord's  death  must 
ever  be  a  sad  one.    This  of  Van  Dyck's  is  one  of  the 


22 


VAN  DYCK. 


greatest,  showing  not  only  the  terrible  earthly  agony  of 
our  (lying  Lord,  but  the  hopefulness  and  joy  of  the 
angels  when  the  sacrifice  for  sinning  men  was  fully 
accomplished.  For  nearly  a  hundred  years  this  picture 
hung  in  the  convent  for  which  it  was  painted.  It  was 
later  bought  for  the  Museum  at  Antwerp,  where  we  may 
to-day  see  it  in  almost  unfaded  splendor. 

Shortly  after  the  death  of  his  father,  Van  Dyck 
accepted  Rubens's  advice  and  planned  an  extensive 
journey  to  Italy.  He  and  his  master  exchanged  presents 
and  we  can  imagine  that  Rubens  gave  many  a  bit  of 
good  advice  to  his  pupil  in  whom  he  was  so  deeply 
interested.  After  Van  Dyck's  departure  Rubens  placed 
one  of  his  pupil's  pictures  in  a  conspicuous  place  in  one 
of  the  finest  rooms  in  his  splendid  house.  In  addition 
to  other  gifts,  Rubens  gave  Van  Dyck  a  beautiful  gray 
horse  from  his  own  stables,  and  on  this  the  artist  set  out 
on  his  journey. 

He  had,  however,  gone  but  a  few  miles  from  Brussels 
when  a  pretty  young  woman  attracted  his  susceptible 
eye  and  he  was  forthwith  convinced  that  his  horse 
needed  rest  and  meadow  food,  while  he  himself  longed 
for  the  companionship  of  the  young  woman  who  so 
pleased  him  upon  first  sight.  Her  name  was  Anna 
Ophem  and  she  lived  at  the  Court  in  the  capacity  of 
Mistress  of  the  Hounds,  whatever  that  may  mean.  The 


VAN   DYCK.  25 

artist  has  left  us  a  portrait  of  Anna  surrounded  by  her 
hounds. 

The  story  goes  that  for  five  months  the  young  artist 
tarried  at  Saventhem,  fair  Anna's  home,  and  enjoyed 
wild  wood  rambles  with  the  sweet  young  girl.  He  was 
brought  to  his  senses  by  the  arrival  of  a  messenger  from 
Rubens,  who  urged  his  instant  departure  for  Italy. 
Thus  suddenly  came  to  an  end  our  artist's  spring-time 
love  tale.  His  sojourn  in  the  quiet  village  in  the 
company  of  a  charming  girl  was  not  barren  of  art 
work,  for  he  left  behind  him  two  pictures  known  to 
fame. 

One  of  these,  "  St.  Mart'ui  I)i elding  His  Cloak  with 
Tioo  Beggars,^^  was  for  nearly  two  centuries  kept  as  a 
treasure  by  the  townspeople.  In  1806,  it  was  stolen  by 
the  French  and  deposited  in  the  Louvre,  where  it 
remained  for  nine  years,  when  it  was  restored  to  the 
village  church  from  which  it  w^as  taken.  It  has  since 
been  almost  captured  by  thieves  for  a  wealthy  American, 
but,  as  of  old,  Rome  was  saved  by  the  cackling  of  some 
wise-minded  geese,  so  in  our  more  prosaic  century,  the 
timely  barking  of  a  dog  saved  for  a  devoted  people  this 
trophy  of  an  artist's  love-sojourn  among  them. 

The  figure  of  Martin,  the  good  saint  of  Amiens,  who 
having  nothing  else  to  give,  divided  the  very  coat  upon 
his  back  to  shelter  a  shivering  beggar,  is  that  of  the 


26 


VAN  1)Y("K. 


loitering  painter  himself,  and  tlie  fine  horse  represented 
is  none  other  than  the  one  Rubens  presented  as  a  part- 
ing gift  to  Van  Dyck.  The  other  picture,  in  which 
Anna  is  painted  as  the  mother  in  a  Holy  Family,  has 
not  been  so  fortunate,  for  we  have  an  authority  who 
asserts  that  it  was  cut  up  into  sacks  to  hold  grain  for 
the  French  invaders. 

We  have  no  other  details  of  Van  Dyck's  journey  to 
Italy,  but  next  hear  of  him  at  Venice,  deep  in  his  study 
of  the  galleries  of  the  island  city.  Numerous  sketches 
and  crowded  note-books  testify  to  his  industry  while  in 
this  city  of  color  and  dream  life.  The  more  he  exam- 
ioed  Titian  and  Giorgione  the  more  fully  he  became 
convinced  of  his  own  calling  to  become  a  portrait 
painter. 

Continued  and  thorough  study  left  little  opportunity 
for  the  money-making  work  for  which  Van  Dyck  longed. 
In  his  search  for  such  remunerative  work  he  remembered 
how  Genoa  had  welcomed  Rubens,  and  thither  he  bent 
his  steps  in  the  hope  of  a  similar  munificent  patronage. 

He  was  not  mistaken  in  his  hopes.  Representatives 
of  families  illustrious  for  centuries  in  the  annals  of  the 
merchant  city  flocked  to  the  elegant  young  painter. 
The  gorgeous  stuffs  and  splendid  jewels  that  betokened 
the  wealth  of  this  great  sea-port  were  the  appurtenances 
most  delightful  to   Van    Dyck  in   his  portrait  work. 


VAN  DYCK. 


27 


Many  a  clashino-  Genoese,  with  his  gorgeously  attired 
wife  and  beautiful  children,  saw  himself  and  his  faniil\ 
adequately  reproduced  by  the  facile  hand  of  the  Cavalier 
Painter  from  beyond  the  Alps.  Success  crowned  all  his 
efforts  ;  he  gav^e  the  luxury  loving  princes  and  citizens 
elegant  portraits  of  themselves  and  their  families  ;  they 
filled  his  pockets  with  their  yellowest  gold,  and  in 
addition,  praised  and  honored  him  as  their  friend. 

From  Genoa  our  artist  went  to  Rome,  where  he 
remained  for  two  years.  Here  he  lived  in  the  house  of 
Cardinal  Bentiooglia,  the  scholar  and  diplomat,  who 
acted  as  patron  to  the  Flemish  artists  who  gathered  in 
Rome.  While  here  he  did  some  of  his  greatest  work. 
The  portrait  of  his  patron,  the  Cardinal,  is  said  to  be 
one  of  the  best  he  ever  painted.  Sacred  subjects,  too, 
he  did,  which  are  among  his  best  work.  "  The  Cruel- 
fixion^''  "  The  Adorcdion  of  the  MckjIJ'  and  ''The 
Aseenf^ioUy'  all  done  in  his  richest  style,  belong  to  this 
period. 

Popular  with  his  patrons,  admired  by  his  inferiors  for 
his  sumptuous  way  of  living,  yet  v/as  he  despised  by  his 
countrymen  then  studying  art  in  Rome.  They  w^ere 
most  of  them  roistering  fellows  who  clung  to  the  boor- 
ishness  of  their  native  land.  What  could  such  a  com- 
pany have  in  common  with  the  refined  Van  Dyck,  who 
lived  like  a  prince  and  not  like  a  poor  art  student  in  a 


(JHKIST  CROWNED  WITH  THOR.^S 


Va?i  Dyv:c 


VAN  ])YCK. 


29 


foreign  city  ?  They  were  stung  by  his  lofty  manners 
and  more  yet  by  the  fact  that  he  excelled  them  in  their 
art.  The  spitefulness  they  felt  grew  into  malignity  and 
they  circulated  wicked  stories  about  him  and  in  other 
ways  made  life  so  unbearable  for  him  that  he  was  glad 
to  leave  Rome  and  seek  Genoa  again,  where  he  had  been 
so  cordially  received.  On  his  way  thither,  he  stopped 
at  Florence  and  other  northern  cities  famous  for  their 
pictures  or  buildings. 

He  remained  in  Genoa  this  time  only  a  short  period, 
for  he  had  an  opportunity  to  go  to  Sicily  with  a  friend. 
His  sojourn  in  this  southern  isle  he  always  looked  upon 
as  one  of  the  happiest  experiences  of  his  life.  As 
always  seemed  his  fortune,  he  moved  among  courtiers, 
painting  their  portraits  and,  in  return,  receiving  their 
money  and  their  praises. 

Among  other  distinguished  people  he  met  here  the 
aged  Sofonisba  Anguissola.  She  was  now  ninety-two 
years  old,  but  with  intellectual  powers  perfectly  pre- 
served, although  she  was  then  totally  blind.  She  had 
been  a  noted  portrait  painter.  As  Van  Dyck  made  her 
portrait,  she  talked  so  delightfully  of  the  art  to  which 
she  had  given  her  life,  that  in  later  years  he  was  fond  of 
saying  that  he  had  learned  more  of  his  art  in  his  conver- 
sation with  this  blind  woman  than  from  his  study  of  the 
masterpieces  of  the  world. 


30 


VAN  DYCK. 


A  sudden  hreaking"  out  of  the  plague,  in  1G2G,  caused 
him  to  leave  this  pleasant  retreat  for  Antwerp.  He 
reached  his  home  city  with  the  honors  of  Italy  fresh 
upon  him,  hut  even  thus  crowned,  he  found  it  difficult 
to  make  his  way  in  the  city  which  was  Rubens's  home. 
The  departure  of  Rubens  on  a  diplomatic  errand  to 
Spain,  however,  soon  gave  Van  Dyck  the  opportunity  he 
desired.  It  was  scarcely  fifty  years  since  the  rich  city  of 
Antwerp  had  been  sacked  by  the  Spaniards,  but  pros- 
perity had  again  come  among  her  citizens.  They  were 
now  desirous  of  making  their  churches  as  splendid  as 
they  had  been  before  the  Spanish  Fury,  and  so  there 
were  commissions  for  many  skilled  hands.  For  this 
purpose  the  call  was  for  sacred  subjects.  Here  are 
some  used  by  Van  Dyck  at  this  time.  The  Adoration 
of  the  Shejjherds,''  TJte  Mystic  Marria(je  of  St. 
Catherine,''  "  Christ  Crowned  with  Thorns,''  "  St. 
Augustine''  "  The  Crucifixion." 

Why  a  man  of  Van  Dyck's  temperament  —  pleasure- 
loving  and  rather  careless  of  some  of  the  things  that 
make  up  a  Christian  —  should  over  and  over  again 
paint  the  sorrows  of  the  crucifixion  is  matter  of 
surprise  to  the  student  of  his  life  and  work.  Yet  we 
often  find  under  a  gay  and  apparently  thoughtless 
exterior  a  soul  moved  by  the  deepest  religious  principles 
and  a  heart  so  tender  that  the  cry  of  a  loveless  child 


VAN  DYCK. 


33 


would  pierce  it  to  its  very  core.  Such  a  mau  Van  Dyck 
at  times  seemed  to  be.  Putting-  this  fact  with  the 
demand  of  the  day,  may  we  not  in  some  manner 
account  for  the  "  Cavalier  Painter's  "  power  in  the 
painting  of  sacred  subjects  ? 

However  we  may  please  our  fancy  in  accounting  for 
them,  the  fact  remains  that  he  has  given  us  at  least 
fifty  beautiful  pictures  in  which  the  religious  element 
predominates.  Perhaps  his  favorite  subject  along  these 
lines  was  "  71ie  llohj  Fcmiil ij.''  One  of  tliese,  called 
"  Rejjose  in  Eijypt^'  we  reproduce  in  this  sketch. 
Joseph  sits  deep  in  the  shade  of  the  great  tree  under 
which  the  three  are  resting.  The  lovely  mother 
supports  the  beautiful  Christ  Child  who  seems  striving 
to  join  the  angel  circle,  whose  members  seem  to  be 
asking  if  there  is  any  service  they  can  render.  Among 
the  clouds  above  is  an  angel  choir  doing  service  in  their 
own  sweet  way.  This  picture  is  in  the  Pitti  Palace  in 
Florence  and  is  one  of  the  favorites  among  Van  Dyck's 
religious  pictures. 

It  was  shortly  after  his  return  from  Italy  that  he 
began  that  series  of  portraits  "  in  gray  "  of  his  contem- 
poraries in  almost  every  walk  of  life.  There  were 
literary  men,  artists,  statesmen  and  warriors,  besides 
artisans  and  men  of  no  trade.  Some  of  the  heroes  of 
the  Thirty  Years'  War  were  represented  in  the  series  for 


FLIGHT  INTO  EGYPT 


Va  n  Dyck 


VAN  DYPK. 


35 


which  it  is  quite  certain  that  Van  Dyck  visited  Germany 
though  we  have  no  other  record  of  such  a  visit. 

The  spirit  which  showed  itself  in  Van  Dyck's  enemies 
in  Rome  followed  him  to  Antwerp  and  annoyed  the 
artist  in  the  midst  of  his  strongest  work.  Disturbed  by 
the  carping  criticism  of  his  enemies  and  spurred  on  by 
the  ambition  that  a  man  of  genius  feels,  he  looked  long- 
ingly toward  England  as  a  promising  source  of  patronage. 
In  1629,  he  again  went  to  London,  and,  it  is  said,  made 
the  acquaintance  of  the  Earl  of  Northumberland  for 
whotii  he  painted  several  portraits  in  his  home  at  Pet- 
worth.  It  is  supposed  that  he  hoped  to  meet  the  king 
and  so  lay  the  foundation  for  future  work  in  England. 
In  this  he  evidently  failed  for  he  shortly  returned  to 
Antwerp  after  a  few  days  spent  in  Paris. 

It  is  little  to  be  wondered  at  that  Van  Dyck  looked 
to  England  for  patronage.  Thither  had  gone  some  of 
the  most  valuable  art  collections  of  the  continent.  The 
government,  at  the  suggestion  of  Rubens,  had  purchased 
and  mounted  the  cartoons  of  Raphael.  While  her 
literary  artists  led  the  world,  England  quite  willingly 
acknowledged  that  she  had  no  native  pictorial  art  and 
she  therefore  liberally  patronized  the  great  painters  of 
the  continent. 

Although  Van  Dyck's  visit  of  1629  had  not  appar- 
ently advanced  his  interests  with  the  English  king,  that 


aiai{U1A(;k  Ob  .sr.  (  ai  iikki.m-: 

Van  Di/ck 


VAN  DYCK. 


37 


same  Charles  was  becoming  familiar  with  the  work  of 
the  Fleming*  and  inquiring  for  him.  When  a  little  later 
a  carefully  executed  portrait  by  Van  Dyck  of  Laniere,  a 
court  musician,  fell  into  the  king's  hands,  he  at  once 
dispatched  a  message  to  the  artist  inviting  him  to  the 
English  court. 

Van  Dyck  set  his  affairs  at  home  in  order  and  in  the 
early  part  of  1632  presented  himself  before  Charles  for 
orders.  He  was  enthusiastically  received  and  lodged  at 
the  expense  of  the  court  in  a  house  in  Blackfriars  where 
the  king  was  accustomed  to  entertain  distinguished 
guests.  In  addition  he  was  given  a  country  place  at 
Eltham,  in  Kent.  Van  Dyck's  heart's  desire  was  now 
accomplished.  He  was  beyond  the  reach  of  the  criticism 
of  his  jealous  brother  artists.  He  had  nothing  to  do 
but  to  paint  and  paint  his  very  best. 

His  elegant  personal  appearance,  his  social  charms, 
and  his  hospitality  soon  made  him  immensely  popular  in 
society  and  about  him  gathered  the  gayest  and  the 
fairest  of  England's  capital.  This  butterfly  life  did  not 
seem  to  interfere  with  his  art,  for  in  spite  of  it  he 
accomplished  a  prodigious  amount  of  work.  Within  a 
few  months  of  his  arrival  in  England  he  had  painted 
full  length  portraits  of  the  king  and  queen  besides  a 
fine  family  group  of  them  and  their  children.  To  the 
honor  that  naturally  came  with  his  successful  work  the 


38 


VAN  DYCK. 


king"  added  very  soon  that  of  knighthood  and  henceforth 
he  was  known  as  Sir  Antony  Van  Dyck. 

He  painted  portraits  for  many  of  the  nobility,  among 
whom  he  had  devoted  friends.  Of  these  none  were 
more  valued  than  Sir  Kenelm  Digby  and  his  wife 
Venetia,  whose  features  he  painted  many  times.  One 
portrait  of  Lady  Venetia  he  has  given  us  in  the  form  of 
an  allegory,  the  popular  literary  form  of  the  day.  Here 
she  figures  as  Prudence,  draped  with  a  white  veil  and 
girdled  by  a  jeweled  belt.  Deceit,  Anger,  and  Envy 
lie  bound  beneath  her  feet  while  in  her  purity  she 
puts  forth  her  hands  to  seize  two  white  doves  flying 
near  by. 

Van  Dyck's  best  known  and,  in  many  senses,  his 
strongest  pictures  belong  to  the  period  of  his  residence 
in  London.  Charles  and  his  queen,  Henrietta  Maria,  he 
represented  more  than  a  score  of  times,  sometimes 
together  but  more  often  as  separate  portraits.  The 
most  famous  of  them  all  is  the  picture  in  the  Louvre, 
where  Charles,  in  full  cavalier  costume,  stands  just  in 
front  of  his  fine  gray  horse  that  impetuously  paws  the 
ground.  In  spite  of  our  nineteenth  century  prosaic 
desire  to  smooth  out  some  of  the  folds  of  his  rich  attire 
or  to  pull  up  his  wrinkled  top-boots,  we  feel  that  we  are 
in  the  presence  of  a  masterly  portrait.  Though  decked 
out  with  all  the  gew-gaws  of  a  frivolous  age  there  is 


BABY  STUAKT 


Van  Dyck 


VAX  DYCK. 


41 


that  in  the  face  of  this  unfortunate  king  which  makes 
us  instinctively  dread  what  the  future  has  in  store 
for  him. 

In  later  years,  long  after  the  tragedy  of  1649  had 
been  accomplished,  Louis  XVI.,  destined  to  be  another 
royal  victim  to  an  outraged  people's  ire,  used  to  beg  to 
have  this  picture  removed  from  his  presence,  for  the 
whole  tenor  of  the  face  was  a  menace  to  his  own  happi- 
ness. Forgetting  the  sad  fate  of  the  central  figure  in 
this  picture,  let  us  note  its  accessories  —  the  wide- 
spreading  tree,  the  water  and  sail  boat  to  the  left,  the 
verdure-clothed  ground  on  which  the  king  and  his 
attendants  stand,  the  cloud-flecked  sky  bending  over  all. 
All  this  clothed  in  the  color  wdiich  Van  Dyck  knew  so 
well  how  to  use,  made  a  picture  to  rank,  as  it  does, 
among  the  classics  of  painting. 

The  queen  with  her  piquant  face,  her  satin  robes  and 
her  pearls  was  likewise  a  subject  delightful  to  the  artist 
and  charming  to  us.  Of  all  the  royal  pictures,  however, 
none  has  enjoyed  the  popularity  of  the  group  known  as 
The  Children  of  Charles  /.,  now  in  the  Dresden  gallery, 
or  that  other  group  so  like  it  at  Turin.  In  both  cases 
the  group  is  composed  of  Prince  Charles  and  his  sister 
Mary  with  their  little  brother,  James,  Duke  of  York. 
This  sweet  group  of  nalre  children,  with  a  fine  spaniel 
on  either  side,  is  justly  a  favorite.    Indeed,  it  is  so 


CHARLES  I.  OF  ENGLAND 

Van  Dyck 


VAN  DYOK. 


43 


iiiueli  8o  that  we  do  not  like  the  information  of  the 
student  of  English  history  that  the  fine  frank  feUow, 
Charles,  became  the  dissolute  Charles  II.  of  England's 
most  corrupt  period  or  that  Bahij  Stuart,  the  pet  of  all 
our  primary  pupils  and  their  mothers,  became  the 
biooted  and  weak  James  II.  who  was  unable  to  hold  a 
throne  handed  down  to  him  by  all  the  generations  of 
English  kings  since  William  the  Conqueror. 

Hap[)ily,  however,  we  are  studying  pictures  and  not 
history  and  we  love  these  Stuart  children  for  what  they 
are  here  before  us  in  Van  Dyck's  beautiful  picture  and 
not  what  they  became  in  their  maturity.  The  "  Bahy 
Stuart''  so  widely  copied  is  from  a  drawing  of  the 
youngest  of  these  children. 

It  is  evident,  from  the  great  number  of  pictures  done 
by  Van  Dyck,  that  his  method  of  working  must  have 
been  extraordinary.  The  following  is  an  account  given 
bv  one  of  the  artist's  friends  which  is  interestino-  to  us 
as  bearing  directly  upon  this  matter.  "  He  appointed  a 
certain  day  and  hour  for  the  person  he  had  to  paint, 
and  never  worked  longer  than  one  hour  at  a  time  upon 
each  portrait,  whether  in  rubbing  in  or  finishing ;  when 
his  clock  told  the  hour,  he  rose  and  made  a  bow  to  the 
sitter,  as  much  as  to  say  that  enough  was  done  for  that 
day,  and  then  arranged  the  day  and  hour  for  the  next 
sitting,  after  which  his  servant  came  to  prepare  fresh 


HENRIETTA  MAKIA  ^  , 

Van  Dyck 


VAN  DYCK. 


45 


brushes  and  palette,  while  he  received  another  person 
to  whom  he  had  given  an  appointment. 

"  He  thus  worked  on  several  portraits  in  one  day  with 
extraordinary  expedition.  After  havino-  lightly  sketched 
the  face,  he  put  the  sitter  in  an  attitude  which  he  had 
previously  meditated,  and  with  gray  paper  and  white 
crayons  he  drew  in  a  quarter  of  an  hour  the  figure  and 
drapery,  which  he  arranged  in  a  grand  manner  and  with 
exquisite  taste.  He  then  handed  over  the  drawing  to 
skilful  persons  whom  he  had  about  him,  to  paint  it  from 
the  sitter's  own  clothes  which  were  sent  on  purpose  at 
Van  Dyck's  request.  The  assistants  having  done  their 
best  with  the  draperies  from  nature,  he  went  lightly 
over  them,  and  soon  produced  by  his  genius  the  art  and 
truth  which  we  thus  admire.  As  for  the  hands,  he  had 
in  his  employment  persons  of  both  sexes  who  served  as 
models." 

In  this  matter  of  hands  he  sometimes  erred  in  judg- 
ment for  it  is  no  uncommon  thing  to  lind  in  his  pictures 
a  delicate  pair  of  hands  attached  to  the  burly  figure  of 
a  warrior  or  of  a  statesman. 

It  is  also  related  that  he  frequently  entertained  his 
sitters  at  dinner  that  he  might  study  their  expression 
when  relaxed  and  not  under  the  strain  of  sitting^  for 
their  portraits.  Indeed  so  common  was  this  custom 
with  the  artist  that  it  materially  increased  his  expenses. 


46 


VAN  I)Y(JK. 


His  price  for  a  half  length  portrait  was  sixty  pounds 
sterling  and  for  a  full  length  one  hundred  pounds. 

As  the  years  wore  on  it  became  more  and  more 
evident  that  nothing  short  of  a  revolution  could  settle 
afPairs  in  Eno^land.  The  income  of  the  kino-  fluctuated 
and  at  times  the  royal  family  were  separated,  owing  to 
the  unsettled  condition  of  affairs.  Van  Dyck  felt 
keenly  the  shrinkage  in  his  income.  The  extravagant 
habits  contracted  in  more  prosperous  times  still  clung  to 
him.  In  his  extremity  we  find  him  forgetting  the  high 
calling  of  his  art  and  painting,  as  Guido  Reni  had  done, 
hurriedly  and  carelessly  merely  for  the  money. 

Worse  almost  than  this  we  find  him  stifling  in  the 
unsavory  odors  of  the  laboratory  in  the  hopeless  pursuit 
of  the  "  philosopher's  stone,"  that  imaginary  element, 
which,  when  once  produced,  w^ould  turn  all  baser  metals 
to  shining,  precious  gold.  In  our  more  practical  way  of 
looking  at  things,  we  cannot  help  thinking  that  when  he 
lowered  and  abused  his  art  he  let  go  the  real 
philosopher's  stone  for  him  and  then,  in  pitiful  con- 
sciousness of  his  mighty  loss,  he  sought  its  substitute  in 
the  uncanny  recesses  of  the  alchemist's  retorts  and 
crucibles. 

Our  artist,  though  yet  a  young  man,  was  broken  in 
health  and  in  purse.  In  the  vain  efPort  to  recuperate 
the  latter  some  of  his  noble  friends  arrang^ed  a  marriasfe 


VAN  DYriv. 


47 


for  liiin  with  Maria  Ruthven,  a  woman  of  noble  family. 
Such  a  marria<^e  could  hardly  be  happy  for  either  party 
and  yet  we  have  no  evidence  that  the  ill-mated  couple 
were  unkind  to  each  other. 

They  had  been  married  hardly  two  years  when,  bur- 
dened with  disease  and  disappointment,  Van  Dyck  died 
just  eight  days  after  the  birth  of  his  daughter, 
Justiniana.  He  was  but  forty-two  years  of  age  and,  if 
we  may  judge  from  the  quality  of  the  work  he  left,  it 
was  not  unreasonable  to  look  to  the  future  for  his 
crownino-  work. 

There  was  a  sumptuous  funeral  in  old  St.  Paul's  and 
the  artist  was  laid  to  rest  close  beside  John  of  Gaunt  in 
the  crypt  of  the  old  church.  In  the  confusion  that 
attended  the  rebuilding  of  the  church  in  later  years,  the 
graves  were  lost  sight  of.  Years  later,  in  excavating, 
the  plate  from  Van  Dyck's  coffin  was  found  but  no 
further  trace  of  his  remains.  We  can  then  make  no 
pious  pilgrimage  to  the  artist's  grave  for  his  dust  is 
scattered,  we  know  not  where.  Again,  dear  reader,  in 
the  paraphrased  words  of  another,  let  me  say,  "  Look 
not  on  the  man  but  on  his  pictures." 


SUBJECTS  FOR  LANGUAGE  WORK. 


1.  Van  Dj^ck's  Home  in  Loudon. 

2.  Van  Dyck's  Cliiklren. 

3.  My  Favorite  Picture  by  Van  Dyck. 

4.  Van  Dyck  in  Italy. 

5.  Van  Dyck's  Sojourn  at  Saventhem. 

().  Comparison  of  Rubens  and  Van  Dyck. 

7.  Some  Essentials  of  a  Portrait  by  Van  Dyck. 

8.  Some  Great  Portraits  of  the  World. 

6.  What  the  Stuarts  Owe  to  Van  Dyck. 

48 


^  STUDENTS  SHAKESPEARE. 


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